1969年出生於日本神奈川縣川崎市。女子美術大學藝術學科畢業。自1997年至今居住台灣，從事藝術創作，翻譯及公共藝術策劃。參展2011年台北當代藝術館「活彈藥」、2012年台北藝術節「快樂孤獨秀」、2013年台北公共藝術節「溫北投」等。
OTSUKA Asako was born in Kanagawa, Japan in 1969 and graduated from Joshibi University of Art and Design with a Bachelor of Art. She has been living in Taiwan, working in art creation, translation, and public art planning since 1997. The artist exhibited “Live Ammo” in the Museum of Contemporary Art Taipei in 2011, “The Happy Solitude Show” in Taipei Arts Festival in 2012, and “Winking Beitou” in Taipei Public Art Festival in 2013.

OTSUKA Asako 大塚麻子

方慶綿（1905-1972），戰前以大型相機和玻璃乾版進行攝影、戰後則以黑白負片拍攝各地風景。其一生不斷地來回平地、阿里山和玉山之間，拍攝山岳與服務遊客，號稱登上玉山三千次，經漢聲雜誌採訪報導後，而有「新高伯」的美名。
FANG Ching-Mian (1905-1972) photographed with large format and dry plate glass negatives in the pre-war period; he then switched to black and white negative films to capture the landscapes of various places in the post-war period. He went back and forth between the plains, Alishan and Yushan throughout his life, photographing mountains and serving tourists, and claimed to have climbed Yushan three thousand times. After being interviewed and reported by Hansheng Magazine, FANG became known as the "Mr. Hsin-Kao (Niitaka)."

玉山國家公園管理處提供
捐贈者：方重雄、方智諒、方智弘先生
方慶綿先生影像創作暨文物

FANG Ching-Mian 方慶綿

2013年畢業於國立台北藝術大學新媒體藝術學系碩士班

早期和朋友合作「復興漢工作室」，共同創作以無厘頭的姿態衝撞藝術創造的可能性；2013年開始工作於台南，創作媒材不限定，將手工融合在概念裡，發展工藝和藝術合作的形態，對應物件造型與環境空間，關注生活的當下而為生活狀況尋找註解。
LI Cheng-Liang graduated from the Department of media art MFA program, Taipei National University of the Arts. In the early days, LI and his friends set up “Fuxinghen Studio,” which utilized a nonsensical approach to co-create the possibility of artistic creation. He has started working in Tainan in 2013. With non-limited media, LI integrates handicrafts into the concept and develops a cooperation form that combines crafts and arts, which corresponds to the object shape and spatial environment. While paying attention to the moments of life, the artist also finds annotations for living conditions.

LI Cheng-Liang 李承亮

生於高雄鳳山,國立臺南藝術大學應用藝術研究所碩士,主修纖維藝術關注於藝術家與社會，人與山、河、土地間多維度的關係 創作手法多樣，近期以非傳統纖維的編織、染色結合行為與裝置，回應歷史、土地與人。
WU Yu-Jung was born in Fongshan, Kaohsiung. She holds a master's degree in Graduate Institute of Applied Arts from Tainan National University of the Arts, majoring in fiber art. WU focuses on multi-dimensional relationships such as the one between the artist and the society, and the other among people, mountains, rivers, and lands. She owns various art techniques. Recently, she has used unconventional fiber weaving and dyeing combined with behaviors and installations to respond to history, land, and people.

WU Yu-Jung 吳有容

1973年生於臺灣雲林。以聲音做為創作媒材，並實驗探索聲音的跨域連結的可能性，近十年執行“台灣聲音地圖計畫”透過身體的移動，紀錄聲音與創作一個長期的聲音資料庫。
WU Tsan-Cheng was born in Yunlin, Taiwan in 1973. He uses sound as his medium to experiment and explore the possibility of cross-domain connection of sounds. In the past ten years, the artist has used the movement of his bodies to record sounds and create a long-term sound database to implement the "Taiwan Sound Map."

WU Tsan-Cheng 吳燦政

走路草農∕藝團(Walking Grass Agriculture)主要成員為劉星佑(Liu Hsing Yu)和陳漢聲(Han Sheng Chen)，兩人來自農業家庭，關注農業、環境與性別議題，創作多以採集的方式，透過裝置、影像，凝視地方歷史與現代化變遷之間的關係。近年發表包含「思箱計畫」(Homesick box project)與多元成展展覽計畫(Coexist Exhibition project)。
The key members of Walking Grass Agriculture are LIU Hsing-Yu and CHEN Han Sheng. They were both born in farming families, paying attention to the agriculture industry, environment, and gender issues. Most of their creations use the collected method, seeing the relationship between local history and modernization through installations and images. In recent years, they published projects “Homesick box project” and “Coexist Exhibition project.”

Walking Grass Agriculture 走路草農／藝團

林玉山（1907-2004）出身嘉義美街的風雅軒裱畫店，曾兩度赴日本學習東洋畫，在日治時期的台、府展屢獲佳績，與陳進、郭雪湖並稱「台展三少年」。戰後進入師大美術系教授花鳥畫，畢生堅持以寫生為本的創作理念，作育英才無數，是台灣美術史中極具代表性的畫家之一。
LIN Yu-Shan (1907-2004) was born in “Fongyaxuan Frame Store” in the so-called beauty street (now Chengren Street) in Chiayi. LIN went to Japan to study eastern paintings twice, being awarded several times in Taiwan Fine Arts Exhibition and Taiwan Soutokufu Fine Arts Exhibition during the Japanese colonial period. He was known together with CHEN Jin and KUO Hsueh-Hu as the “Three Youths of Taiwan Art Exhibitions”. In the post-war era, LIN entered the Department of Fine Arts from National Taiwan Normal University to teach bird-and-flower painting. As one of the most representative painters in Taiwan's art history, LIN adhered to the concept creation of en Plein air painting throughout his life, cultivating countless art talents.

LIN Yu-Shan 林玉山

出生於嘉義，是臺灣第二代藝術家的代表人物之一，以喜愛畫鄒族聖山——塔山而聞名，故有「塔山畫家」之稱。畫風質樸中帶有秀麗，題材多以阿里山風景、日常生活觀察與臺灣南部鄉野為主。他同時也是一位美術教育家，四十五歲時曾創辦過美術教室「藝苗」。
LIN Kuo-Chi was born in Chiayi, Taiwan, and he is one of the representatives of the second generation of artists in Taiwan. He is famous for his love of painting Tashan, the holy mountain of the Tsou people; therefore, he is known as the “Tashan Painter.” LIN’s painting style is simple but beautiful, and the themes of his works are mainly the scenery of Alishan, observation of daily life, and the countryside of southern Taiwan. He is also an art educator. He founded Yimiao Art Classroom at the age of forty-five.

LIN Kuo-Chi 林國治

邱子晏，出生於台灣台中，目前生活工作於苗栗、雲林。邱子晏近幾年關注台灣電影影像中的歷史提問，並透過影像裝置與重構的方式進行對話，試圖在這 些過去的台灣電影美學中，挖掘與討論過去尚未釐清的諸多美學與歷史問題。
CHIU Zih-Yan was born in Taichung, Taiwan, and currently lives and works in Miaoli and Yunlin. CHIU has focused on the historical questions in Taiwanese film images in recent years. Moreover, he conducted dialogues through image installations and reconstruction methods. CHIU tried to explore and discuss several aesthetic and historical issues that have not yet been clarified in the past in these past Taiwanese film aesthetics.

CHIU Zih-Yan 邱子晏

邱承宏為視覺藝術創作者，畢業于國立台灣藝術大學造形藝術研究所。他的創作多以裝置、雕塑的方式呈現，就像是進行一場考古探險般，他善於挖掘生存時空曾經存在的身影與軌跡，並透過抽象的手法重新演繹那些被合理化及設計過的邏輯規則，將它們生動地重塑，藉此發展出一套巨大的記憶修補術。重要展覽包含「2019亞洲藝術雙年展」、「2016台灣美術雙年展」、「2012英國利物浦雙年展」。
CHIU Chen-Hung is a visual artist and graduated from the Graduate School of Plastic Arts, National Taiwan University of Arts. Most of his works are presented in the form of installations and sculptures. Just like going on an archaeological expedition, CHIU is good at digging out the silhouettes and trajectories that existed in the past space-time and reinterpreting the logical rules that have been rationalized and designed through abstract techniques. The artist reshapes the rules vividly to develop a vast memory repair technique. His representative exhibitions include the 2019 Asian Art Biennial, 2016 Taiwan Biennial, and Liverpool Biennial 2012.

CHIU Chen-Hung 邱承宏

高雅婷，1981年生，台北藝術大學美術創作研究所畢業，目前工作與生活於臺北。作品以多條路徑描繪出對於自身信仰和歷史認同的想像地圖，從個人尋找和世代的連結，呈現方式包含平面繪畫、錄相和裝置。近年繪畫作品使用古典圖像、新聞攝影、家庭相片等多元素材，佐以臨摹做為顯像的手段，定義自身認同的不確定性。個展《信仰的臨摹》(2015)與《桃樂絲墜落》(2013)皆獲台新藝術獎提名。曾獲美國佛蒙特藝術中心（Vermont Studio Center）2012亞洲藝術家獎學金，ART TAIPEI 2011新人推薦特區展出機會。
Born in 1981, KAO Ya-Ting was an M.F.A of Taipei National University of the Arts. Currently, she works and lives in Taipei. She uses multiple ways to depict an imaginary map of her religious belief and historical identity, searching for connections with generations from the individual. Her presentation methods include graphic paintings, videos, and installations. In recent years, KAO has used multiple materials such as classical images, press photography, and family photos in her paintings, along with coping as a means of visualization to define the uncertainty of her self-identification. Her solo exhibition “The Imitation of Faith” (2015) and “Dorothy Crash” (2013) were both nominated for Taishin Arts Award. KAO also received the Asian Artist Scholarship of Vermont Studio Center U.S in 2012 and was chosen for the M.I.T project in ART TAIPEI art fair in 2011.

KAO Ya-Ting 高雅婷

1978 生於苗栗，國立新竹教育大學美勞教育研究所畢業，現為國立臺灣師範大學美術學系博士生。常使用鉛筆、碳精粉材質創作，以其細膩筆鋒、古典寫實之技法，描繪其內心纖細、高度感知的微觀世界，作品溫柔細膩，畫面寂靜沉穩，最擅長用「物態」來表述生活狀態，引領觀者以不尋常的角度，重新探索及詮釋現有事物之美。
HSU Jui-Fu was born in Miaoli, Taiwan, and graduated from Fine Arts and Crafts Education, National Hsinchu University of Education. He is currently a Ph.D. student in the Department of Fine Arts from National Taiwan Normal University. He often uses pencils and carbon powder for creations. HSU depicts his inner sensitive and highly perceptible microcosm with his delicate brushstrokes and classical realism techniques. His works are gentle and exquisite, and the pictures are silent and stable. The artist is expert at expressing the state of life with the "state of matter," leading the audiences to re-explore and interpret the beauty of existing objects from an unusual perspective.

HSU Jui-Fu 徐睿甫

席德進(1923-1981)出生於中國四川，1948 年來臺。他曾直接表示臺灣是其繪畫孕育的所在，所以臺灣景色一直都是席德進創作中的重要素材，而在技法上運用一層層水彩畫出墨色濃淡，表現出類似國畫筆法的暈染，將中國文化元素與臺灣人文特色融合，開創出獨特的繪畫風格。
SHIY De-Jinn (1923-1981) was born in Sichuan, China, and came to Taiwan in 1948. He once directly stated that Taiwan is the birthplace of his paintings; hence, the scenery of Taiwan had always been a critical material in his creations. Regarding the techniques, he used layers of watercolor to paint the shades of ink, showing a blending effect that is similar to the technique in traditional Chinese painting. By combining Chinese cultural elements with Taiwan's humanistic characteristics, SHIY initiated a unique painting style.

SHIY De-Jinn 席德進

堀田清治(1898—1984)出身於日本福井縣福井市的紡織原料批發商家，1920年進入太平洋美術研究所，師承高間惣七；並在1959-60年間於巴黎朱利安學院(Académie Julian)研修。為創立新槐樹社的代表之一。曾以西洋畫在帝展、日展等大展中多次獲選。晚年多以磨崖佛、觀音像為題材。
Born in Fukui, Japan, HOTTA Seiji (1898-1984) was a textile raw material wholesaler. HOTTA entered in Taiheiyo Art Association in 1920 and became an apprentice of TAKAMA Soshichi; he then studied at the Académie Julian in Paris from 1959 to 1960. As one of the representatives who founded Shinkaijusha, HOTTA was selected several times in major exhibitions such as Imperial Art Exhibition and Japan Fine Arts Exhibition for his Western paintings. In his later years, he used Magaibutsu (Magai Buddha) and Guanyin statues as themes.

HOTTA Seiji 堀田清治

郭柏川(1901-1974)出生於台南，1926年赴日習畫，並考取東京美術學校，就讀期間接連入圍第三與第四屆台展。1938年後定居北平（今北京），任教於北平藝專等校。1948年返回臺灣，組織「台南美術研究會」開拓台南藝術產業的發展。在繪畫方面，以宣紙與油彩的結合，建立了極具特色之個人風格。
KUO Po-Chuan (1901-1974) was born in Tainan, Taiwan. He went to Japan to study painting in 1926 and got admitted to the Tokyo University of the Arts. During his study period, KUO was shortlisted for the 3rd and 4th Taiwan Fine Arts Exhibition in a row. In 1938, KUO settled in Beiping (now Beijing) and taught at schools such as the National Beiping Art College of Art. He went back to Taiwan in 1948 and founded the “Tainan Art Research Association” to open up the development of the art industry in Tainan. Regarding the painting, his combination of rice paper and oil paint has established a distinctive personal style.

KUO Po-Chuan 郭柏川

生於1895年的臺灣嘉義。1926年以油畫作品〈嘉義街外（一）〉入選帝國美術展覽會，成為臺籍畫家中的第一人。1934年結合全島畫友組成「臺陽美術協會」。而在創作上，陳澄波拋棄一切束縛，盡情地發揮自我的熱情，留下大批動人的畫作；在教育上，陳澄波亦積極宣導美術，並計畫籌建美術學校。1947年受228事件牽連而罹難，享年53歲。
CHEN Cheng-Po was born in Chiayi, Taiwan in 1895. He was the first Taiwanese painter to be selected in Japan Imperial Art Exhibition with the oil painting work “Outside the Chiayi Street Ⅰ” in 1926. In 1934, CHEN and other artists co-founded the “Tai-Yang Art Association.” In terms of creation, CHEN discarded all his concerns and gave full play to his enthusiasm, leaving over a large amount of touching paintings; in education, he also proactively promoted the art and planned to build an art school. In 1947, CHEN was implicated in the 228 Incident and died at the age of 53.

CHEN Cheng-Po 陳澄波

計畫發想/黃同弘
影像提供/林務局農林航空測量所、中央研究院人社中心地理資訊科學研究專題中心

農林航空測量所運用航遙測影像進行資源調查與空間測量，典藏歷史影像超過一百萬張。中央研究院人社中心地理資訊科學研究專題中心持續徵集海內外各類空間基礎圖資，建置臺灣百年歷史地圖及其他時空整合式應用環境與工具。

Project Conceived by: HOUNG Tung-Hung
Images Provided by: Forestry Bureau Aerial Survey Office, Center for GIS, Research Center for Humanities and Social Sciences, Academia Sinica

The Aerial Survey Office uses aerial and remote-sensing images to perform resources inventory and spatial survey. It holds more that one million historical images in the archive. The GIS Center at Academia Sinica collects various types of spatial images from around the world. It has established the Taiwan Centurial Historical Map and continuous to develop tools and environmental applications for processing spatio-temporal data.

HOUNG Tung-Hung 黃同弘

居住於台灣的日本藝術家，過去曾在嘉義鐵道藝術村駐村2年的時間。代表作為〈全球商店情報計畫〉(GLOBAL-STORE PROJEC/http://global-store.info)
SUZUKI Takahiko is a Japanese artist living in Taiwan and was a resident artist in the Art Site of Chiayi Railway Warehouse for two years. “GLOBAL-STORE PROJECT” (http://global-store.info) is his masterpiece.

SUZUKI Takahiko 鈴木貴彥

歐陽文（1924-2012）出生於日治時期的嘉義市，幼時目睹陳澄波在嘉義公園寫生的身影而立志成為畫家。因為參與二二八事件而被關入綠島監獄，在獄中被指派為攝影師，藉機拍攝了許多綠島的風土民情。直到解嚴後才重拾畫筆，紀錄自身的白色恐怖受難經驗及對台灣未來的熱情希望。
OU-YANG Wen (1924-2012) was born in Chiayi City in the Japanese colonial period. He determined to become a painter at an early age was because he once saw CHEN Cheng-Po sketching in Chiayi Park. OU-YANG was imprisoned in the Green Island Prison for participating in the 228 Incident. He was then assigned as a photographer in prison. He then took the opportunity to photograph many of the local customs and traditions of Green Island. It was not until the lifting of martial law that OU-YANG picked up drawing, recording his own experience of suffering from the White Terror and his passion for the future of Taiwan.

OU-YANG Wen 歐陽文

1986年出生於嘉義，生活工作於台南，曾於2013 、2017年獲得國藝會展覽補助，並舉辦過多次個展，並於2019年在澳門的後牛房實驗場駐村，作品多以錄像、裝置為主要媒材，近年創作主要專注於生物學相關的研究脈絡，試圖在生物學的檔案脈絡中梳理出一條素人式的生物學研究，藉此重新理解人與動物之間的關係。
TSAI Pou-Ching was born in Chiayi, Taiwan in 1986. Currently, he lives and works in Tainan. TSAI received exhibition subsidies from the National Culture and Arts Foundation in 2013 and 2017 and held many solo exhibitions. In 2019, he was a resident artist in Post-Ox Warehouse Experimental Site in Macau. Most of his works use videos and installations as the main media. In recent years, his creations have mainly focused on biology-related research context, trying to sort out amateur biological research in the archives of biology to re-understand the relationship between humans and animals.

TSAI Pou-Ching 蔡咅璟

早年畢業於復興商工的繪畫組和實踐專校的空間組，做過10年玩具禮品的原型雕塑、7年自由時報的廣告業務、15年經營豆皮文藝咖啡館搞抵抗藝術。看山行動正在進行中，〈賴春標〉為看山行動中編號第4的部分。
Leo LIU graduated from the painting group of Fuhsin Trade and Art School and the space group of Shih Chien University. He has made prototype sculptures of toys and gifts for ten years, worked as an account executive in Liberty Times for seven years, and managed Dogpig Art Café for creating resistance art for another fifteen years. “Unknow Event” is in progress, and <Lai Chunbiao> is the No.4 of it.

Leo LIU 劉秋兒

LO Yi-Chun 羅懿君
1985年出生於台北。作品關注臺灣的經濟作物，以及全球化市場下人與物的流徒。2013年開始接續以香蕉皮、菸葉和甘蔗渣為素材進行創作，透過田野調查、資料蒐集與文獻閱讀，耙梳臺灣產業地景的歷史脈絡與世界經濟體系座標。
LO Yi-Chun was born in Taipei. Her works focus on cash crops in Taiwan and the migration of people and objects under the globalization of markets. In 2013, LO started to use banana peels, tobacco leaves, and bagasse as materials for her creations. Through field research, data collection, and literature review, LO re-organized the historical context of Taiwan’s industrial landscape and the coordinates of the world economic system.

Umair Khan 孔育明
獨立書寫者與編輯，現居於台北，關注於敘事性歷史與當代文學。
An independent writer and editor currently based in Taipei. He is interested in narrative history and contemporary literature.

LO Yi-Chun 羅懿君 Ｘ Umair Khan 孔育明

當代藝術策展與創作者，16歲離家念書之後，經常處於一種游牧的狀態，不斷移動的狀態加上觀察者的性格，引發她探索藝術和大眾與社會之間關係的好奇。她長年來對於環境、自然與生態有著深刻的關心，現為東海大學美術系兼任助理教授，近年的研究與實踐逐漸走入無牆的環境之中。

蔡明君

策展人

獨立策展人、文字工作者，曾任藝術雜誌記者編輯，現任臺北數位藝術中心藝術總監。研究與策展的方針是透過臺灣文化歷史肌理的爬梳向外照射出歷史和地理的軸線，測繪亞洲的精神圖誌。2016年開始，前往東南亞不同島嶼觀察人文風情，並從臺灣與其所共享的歷史背景為基礎，尋找當代藝術對話的可能；目前以島嶼東南亞為對象，與藝術家們一同進行海外研究與創作計劃，奉這樣密切的實踐與討論為策展核心。

陳湘汶

導覽介紹

嘉美神社 Jia Mei Jinja

在海拔2000公尺震動 Reverberations at Altitude 2000

與他們同在-我與物種間的千絲萬縷 Together - The Countless Connections Between Me and the Species

入山 Into the Mountains

木頭進化史 Evolution of Wood

採光09 Daylighting 09

時空重置計畫Ⅰ Replacement of Time and Space I

賴春標（看山4） Lai Chunbiao (Unknow4)

方慶綿攝影作品

阿里山全景速寫圖 Panoramic Sketch of Alishan

阿里山風景 Alishan Scenery

阿里山雲海 Sea Clouds at the Alishan

望塔山 Overlooking Tashan

木材工廠 Lumber Factory

阿里山神木 A Divine Tree of Alishan

阿里山櫻花 Cherry Blossoms on Alishan

阿里山山徑 Path of Alishan

阿里山雲海 Alishan Sea of Clouds

嘉義杉池 Chiayi Log Pond

從北香秋荷到檜沼垂綸到一些有的沒的 Flower Viewing or Fishing or Do Something Else

⾼橋先⽣的筆記本（1861年，阿⾥⼭） Notebook of Takahashi (Alishan, 1861)

施金泉 Shih Jin-Chuan

遺構 Feature

樹 Tree

時空重置計畫II Replacement of Time and Space II

時空重置計畫III Replacement of Time and Space  III

自建都以來，嘉義除了「畫都」美譽，亦因日治時期三大林場之首阿里山林業的蓬勃發展，而有「木都」的名號。彼時，除了貫穿臺灣南北向的鐵道，在嘉義這個城市，還有著獨特東西向的森林鐵路，也因此，隨著木業，攘來熙往的人與林木在這座城市交錯。

在森林鐵路東西向的移動路徑上，木業不僅塑造了奮起湖的榮景，更為嘉義帶來大量的商業活動，許多原始林木在此經歷製程與販售，而鐵路、杉池、製材所與木材街（今林森西路）更是交織出嘉義市地景獨特的紋理。山林裡豐富的物產造就了市區內相關產業蓬勃發展，帶來了全市曾高達十分之一人口皆從事與林業相關活動的榮光。今日，雖然阿里山與其林業文化已轉為觀光產業，不過相關的產業遺跡及精神，仍然鮮明地存在城市的不同角落裡，也逐步地朝向重新建立文化景觀與遺產的目標邁進。

「由林成森」這個展覽名稱一方面像是呼應著曾經充滿木頭產業的林森路，回應嘉義曾經的林業榮景以及阿里山上綿密森林的想像，另一方面也透過帶有次序性與聚合狀態的動態描述，如東西向鐵路所連結的森林（阿里山）與木材（嘉義市），藉此，將這片山林與人類的活動編織成一片文化風景。乘著火車，博物學家、企業、政府、林業工人以及藝術家們往東上到了山林裡，無論是為了研究、經濟或創作而探索，人們同時帶來了聚落、生機與毀滅；而長居於山裡頭巨大芳香的紅檜與扁柏，原生之地逐漸與被殖民者帶來的柳杉共享。樹木們隨蒸汽朝西方移動到城市中，成為了陪伴在人們生活四周的神社、鳥居、房屋、電線桿與各式傢俱。

本展覽於嘉義市立美術館的一樓至三樓，以山林風景為靈感的作品作為起始，帶領觀眾走入山林間，逐漸開展人與森林和高山的關係，最後進到了產業創造以及遺留的痕跡；而館外的嘉義製材所和沼平公園的展出內容，則是在歷史場域上層層疊疊地創造今日與過去的拼接與想像。「由林成森」同時透過前輩藝術家筆下的阿里山與嘉義市林木風景，以及當代藝術創作者的思考、觀察與回應，試圖追隨著林木與森林，觀看地貌與人文景觀在近百年的時光裡與自然關係的樣貌；同時亦站在回望歷史的角度，透過多樣的取徑來重新探索嘉義林業、山林文化、城市景觀及生活歷史與嘉義這座城市的關係。

Since its establishment, Chiayi has been known as the City of Paintings. Chiayi is also known as the City of Wood because of the prosperity of the forestry in Alishan during the Japanese occupation period, when it was the top amongst the three forest farms in Taiwan. Back in the time, most trains in Taiwan ran in the north-south direction. Chiayi, however, was home to the unique forest railway that ran east-to-west, which brought a bustling traffic of wood and people to cross paths in the city.

Along the east-west forest railway, the forest industry gave rise to the success of the Fenqihu settlement and brought an enormous amount of business activities to Chiayi, where vast numbers of timber from primary forests are processed and sold. The railway, log pond, sawmill, and lumber street (Linsen West Rd. today), make up the unique texture of Chiayi City landscape. The mountain forest's abundance of natural resources was the driving force behind the rapid development of related businesses in the city, which reached its glorious peak when as much as one tenth of the citizens participated in forestry-related activities. Today, although Alishan and its culture of forestry has been remodeled into a part of the tourism sector, its remnants and spirit can still be found in the various corners of the city as it gradually marches toward its goal of re-establishing a cultural landscape and heritage.

The title of this exhibition, A Rhythm of Tree Forming the Forest, on the one hand, seemingly resonates with the local Linsen (in Chinese, lin and sen are two characters standing for trees and forest) Road once bustling with wood industry activity for imagining the past glory of Chiayi's forest industry and the mystique of Alishan's dense forests. On the other hand, the flowing, dynamic description of the clustering state is analogous to the east-west railway that connects the lumber (Chiayi City) and the forest (Alishan) and weaves the forest and human activities into an intertwined cultural landscape. On the train, naturalists, businessmen, government staff, forestry workers, and artists are all heading east into the forested mountains. Whether they are exploring for research, economy, or creativity, people have brought settlement, livelihood, and destruction. The towering and fragrant Taiwan red false cypress and Taiwan yellow cedar have been gradually forced to share their habitat with Japanese cypress introduced by the Japanese during the occupation period. All the trees followed the steam as it moved into the city to become the Shinto shrines, toriis, houses, utility poles, and various furnitures ubiquitous in people's lives.

From the first to third floor of the Chiayi Art Museum, the exhibition begins with works inspired by the natural scenery of the mountain forests. The audiences are taken into the woods to see the relationship between people, the forests, and the mountains gradually unfold on the second floor before finally being taken to witness the rise of an industry and its remaining legacy on the third floor. At the Chiayi Sawmill and the Zhaoping Park, exhibits stitch together the past and present through fragments of history and imagination piece-by-piece, layer-by-layer. A Rhythm of Tree Forming the Forest attempts to view the relationship between humanity and nature as it evolved through the past hundred years through the scenery of trees and forests of Alishan and Chiayi depicted by the elder artists and the responses of contemporary artists. Meanwhile, the exhibition also attempts to re-explore the relationship between forest industry, forest culture, city landscape, history of living, and the city of Chiayi itself through multiple approaches as a reflection on the history.

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官網展覽資訊

創作營紀錄影片

策展人座談影片

專家座談影片 — 台灣林業的發展與轉折

專家座談影片 — 逝去的地景，地景的明日

專家座談影片 — 檜木林下的愛山人—健行者和森林博士的對談

專家座談影片 — 大愛電台「立德路2號」訪談影片

由林成森

尺寸：78×189.7公分
媒材：鉛筆、紙張、炭精粉
作品介紹：個體隱含的故事、物種互動的奧妙與無息的溝通，是徐睿甫靈感的來源，這些處在原生、潰爛場域的事件引領著他的創作。運用鉛筆描繪他們的同時，也同時把藝術家那些近乎本能的動物之魂嵌入他們互依存的世界。依循著過往記憶與觀察後的感觸，創作時，徐睿甫彷彿又回到一個私密本我的場域。在這場域裡，「我」是情緒的擴大，也是意識的奔流躁動，「我」變得像孢子、黴菌般肆無忌憚的滋長。模擬物種、黴菌蔓生樣貌而衍生的高密度筆觸是其創作的核心，在反覆細勾勒、薄塗和推疊的過程中，當下的思慮與所見的動植物、腐物一一錯合。企圖從手繪的過程中，試著去理解自身與他們的莫名連結，搜尋與他們的相關記憶，最終總和而成的，是觀察後的紀錄，也是潛藏意識的彰顯。

Dimension： 78×189.7cm
Material：Pencil and carbon powder on paper

嘉義市立美術館典藏